do i do materials for epi code?

for some time now i have found myself clueless why am doing stuff and recording it in different manners. Like noting the interactions times when searching for berlin in kiew’s borispol, or taking images of meeting points between cockroaches and people in Palestine’s Mediterranean biabbeale.

When i just did a search for a reader of epigenetic inheritables, it occurred to me that there are the materials, the elements.. (bare here..) ie an increase in x chemical in body will affect, for example, a dna sequence shape, or activation of gene Y rather than z.
Now, I used(??) to call the said recordings “materials”
so probably i jumped into:
lets imagine the recordings, events, etc. as Real materials.. Lets use these as effectors on the code..?
however, here am thinking of search processes…

transablities? collisequence?

1 2 4 5 6 9 11
as a strand in a collisequence derived from a shopping trip
because in itself it IS, its Being, is Trans-able. I can do it in a photo, a music, a documentary, an essay, as of itself, or an element, strand, etc.

The question in my mind is just why trans in numbers and spaces to do with shops rather than dots and ticks.
That could be a search activity, a collision chamber of trans approaches..?
My position was of a walker, colliding with transient buildings on a slow moving cerface, etc.. I can be open with that, as a narrative? A trans narrative? I imagined myself walking as I was walking.. etc.. I imagined that people imagine me walking as they watched me walking.. That is contrasted by people imagining me spying, later on, as I was taking photos while walking..
Or how to search while transing borders of jordan and israel/palestine in the desert?

H2BACNSAL2TAI?

How to be a collidable network sound and live to tell about it? (H2BACNSAL2TAI?)

WHAT IS H2BACNSAL2TAI?

H2BACNSAL2TAI is a group activity that builds, and possibly destroys, a sonic network. H2BACNSAL2TAI imagines how networkable sound lives, from the view of sounds, via to the creation of collisions & networks.

Data networks made of bits known as “packets”, are chunks of information passed on within a given locale to create a network of information.

H2BACNSAL2TAI is an active imagining how it might be as an information packet that contains sound in a network. This is done through actively breaking the network – through colliding packets. Each collision will create its own new network sound.

HOW TO DO H2BACNSAL2TAI

To do H2BACNSAL2TAI, we need at least 3 people – upto any number – to form a circle. To begin with, there will be 2 kinds of messages – sound based “information packets”. Initiated by me, each type will be sent through the circle in a clockwise and anti-clockwise directions.

The initial two message types will be:

* A coded logic pseudocode that would have made packets containing sounds collide and produce new sounds which could then travel to other direction on the network. Since it’s an algorithmic pseudocode logic, each person will be able to imagine being a collidable sound in a network. Each object – 53 in total – will travel anti-clockwise.

* Symmultaniously, 53 ideas of sound objects will travel clockwise through the circle. The sound ideas consist of descriptions and noise making, to do with collision sensations – e.g. gritted teeth, wind hitting guitar strings, an earth history of solar winds, etc..

Through H2BACNSAL2TAI process, collisions between nodes/people in the network will be created. Each person will progressively become a “sound colliding chamber” when they receive and transfer 2 different sound types – code & sound ideas.

On completing a full circle , a 3rd sound element will be introduced: Physical “sound packages” made of gaffa-taped bottles and balloons, filled with nuts**.

These will be thrown within the group, at times to another person, and others with the intention of colliding the “sound packages”. If the objects collide, they will be combined (taped) or split to form new sound packages.

The Sounds:

how to be a collidable network sound and live to tell about it (H2BACNSAL2TAI)

Key: is there a packet?=Vi | a friend ? = Ve | a foe? = Vo | an action? = Va | an object = Vo’e

 

1. sound of an arrow meeting side wind

2. sound of a splat on a lit lighter

3. sound of a traffic inside the scream painting

4. sound of a gasping cyclonic car

5. sound of a missile hitting a heart

6. sound of a chamber orchestra changing clothes

7. sound of a ripple after its gone

8. sound of a hypersonic light

9. sound of a jeeped humvee

10. sound of a reloaded trumpet

11. sound of a deloaded trumpet

12. sound of a unloaded trumpet

13, sound of an empty garage missing a dead body

14. sound of an engine attempting to become biological

15. sound of a an arbitrary number becoming meaningful

16. sound of a an arbitrary number unbecoming meaningfulness

17. sound of a de-becoming of meaning translated into a number

18. sound of a de-becoming of meaning expressed as a number

19. sound of a de-becoming of meaning understood as a number

20. sound of a de-becoming of meaning represented as a number

21. sound of a bus meeting a chicken

22. sound of a bus morphing into a chicken

23. sound of a baby bus-chicken

24. sound of a keyboard at the end of the day

25. sound of a day’s end in a keyboard

26. sound of a day keyboard by the beginning of night

27. sound of a blender with a drum

28. sound of a drummed blender

29. sound of a drumming blender

30. sound of a drummer blender

31. sound of a blending drummer

32. sound of a blending drum

33. sound of a blended drum

34. sound of a splat sneezed

35. sound of a gasp belched

36. sound of a zipped wind

37. sound of a bottling beat

38. sound of a snored ouch!

39. sound of a humming chirp

40. sound of a barking roar

41. sound of a barking lion

42. sound of a snorting caw

43. sound of a snorting crow

44. sound of a bulleting cockatoo

45. sound of a bulleting bleeper

46. sound of a bulleting morse-code

47. sound of a morse-coding a bullet

48. sound of decoding a morse-coded a bullet

49. sound of re-coding a morse-coded a bullet

50. sound of a sneezed a morse-coded bullet

51. sound of a bullet’s will

52. sound of a barking will

53. sound of an unwilling will

1. Vi Vo Va Vo

2. Vi Va Ve

3. Vi Va VoVe VoVe

4. Vi Vo’e Vo Ve

5. Vi Vo’e Va Vo’e

6. Vi VaVo’e Ve Ve

7. Vi Va Vo Vo

8. Vi VaVa Vo’eVe

9. Vi VaVo’e VaVo’e Vo

10. Vi Va Va Vo’e

11. Vi Va Vo Vo’e

12. Vi Va Vo Vo’e

13. Vi Va Vo’e Vo Ve

14. Vi Vo’e Vi Vi Vo’e Vo

15. Vi Vo’e ViVa Ve

16. Vi Vo’e VoViVa Ve

17. Vi VoVeViVa Ve Va Vo’e

18. Vi VoVeViVa Ve Va Vo’e

19. Vi VoVeViVa Ve Va Vo’e

20. Vi VoVeViVa Ve Va Vo’e

21. Vi Vo’e Vi Ve

22. Vi Vo’e Vi Ve

23. Vi Ve Vo’e

24. Vi Vo’e Vo

25. Vi Vo’e Vo Vo’e

26. Vi Vo’e Vi Ve

27. Vi Va Vi Vo’e Ve

28. Vi VaVo’e Vo’e Ve

29. Vi Vo’eVa Vo’e Ve

30. Vi Vo’eVa Vo’e Ve

31. Vi VaVo’e Vo’e Vo

32. Vi VaVo’e Vo’e Vo

33. Vi VaVo’eVo Vo’e Vo

34. Vi VaVo VaVo

35. Vi Va VaVe

36. Vi VoVaVo’e Vo’eVa

37. Vi VoVaVo’e Ve

38. Vi Va Vo

39. Vi Va Ve

40. Vi VaVo’e Ve

41. Vi Va Va Vo

42. Vi Va Vo’e Ve

43. Vi Va Vo’e Vo

44. Vi Va Vo’e Vo

45. Vi Va Vo’e Vo

46. Vi Va Vo’e Ve

47. Vi Va Vo

48. Vi Vo VaVo’e Vo

49. Vi Ve VaVo’e Vo

50. Vi Vo VaVo’e Vo

51. Vi VoVo’e Va

52. Vi Va VoVe

53. Vi VoVa Va

colliding in Rio

Barracão Maravilha International Residency Proposal Synopsis

Responding to the residency open-call, I’d like to use the time and situation in Barracão Maravilha to question urban artistic imaginations of our times through cooperative collisions of languages, cultures, expectations, perceptions and preconceptions.

To create such cooperative collisions I will:

1. Offer urban cultural network workers, such as couriers, postmen/women, taxi drivers, bus drivers, skateboarders, and others that move within the urban fabric, to visit Barracão Maravilha space, collide with me via cultural & linguistic differences – to create “cultural particles”.

2. Link with local artists and curators in the city’s various transport means, to talk about elements that might – or might not – emerge through collisions with urban cultural network workers.

3. Work with an artist/curator to produce an exhibition – show of some kind – that is using the collisions in points 1. and 2. as well as our personal one as an inspiration.

These collisions will create cultural particles/elements/materials – e.g. ideas, practices, questions, etc. – which will form the bases of a talk towards the end of the residency.

Residency Proposal Details

Background

Barracão Maravilha’s international residency open call is very exciting in my mind because it suggests you are open to take chances, try new contexts, new ways of thinking, imagining and doing art – all this in the vibrancy of an urban fabric.

Urban life is a relatively new experience on a planetary historical perspective, and its vibrancy is not merely the rhythm of life, movements, in the city – but also the rhythms of our evolving lives of urbanity. Cities at the beginning of 21st century are very different from 100, or even 30 years ago. Cities evolve and move in their own pace. Through technologies, size, shifting perceptions, economic, work & leisure activities, city dwelers’ legitimisations (eg where gay people go out to and their visibility, infrastructure for wheelchairs/blind people, movements in, out, between and new ghettos for poor & rich, etc.), and in my view, these – and other evolving elements – come via collisions that are facilitated by links that streets provide. If cities were a living organism, roads would be the veins of that animal. Veins with a special cultural practice, an activity that feeds cities via collisions.

The streets of a city are like a large Hedron collider for cultures. Cultural objects, values, questions, smells, sounds, codes, languages, stories, narratives, etc. are being carried by all urban inhabitants through the city collider chambers – streets. When the elements collide in these streets/collision-chambers, much like the particles within Cern’s large Hedron collider, sparks made of unknowns may be created.

As an artist, I think of these as new ways to imagine that spark through collisions. Sometimes for a fraction of a millisecond, sometimes for a bit longer – maybe even for life.

I imagine, perhaps wrongly, that in a sense – Barracão Maravilha’s international residency, through bringing together people from far and relatively unknown – is in itself a sort of an urban art road, a vein in the colliding chamber of art. This might be said regarding many international art residencies, however not many offer the very challenge of urban collisions in such a visible way, and that, for me, is exciting – hence want to expand the notion.

In a sense, the fact that I do not know the culture & language – nor the city of Rio itself – is, in my view, part of the residency process in general and collisions-waiting-to-happen in particular. There are many possible collisions and resulting ways to imagine stuff that currently I can not fathom, yet will be open for.

However, I would like to outline the kind of collisions I can imagine now, based on interest. The starting points will be materially linguistic and cultural. From how do we imagine a linguistic conversation where the protagonists do not speak the same language very well? How new elements come through – or imagined through – perhaps fall through, that kind of friction? How cultural collisions create ways to imagine, or re-imagine, cultural practices? How perceptions and preconceptions imagine themselves after colliding? Indeed, how definitions, at times epi-cultural – such as what is art, how is art, artist role – collide?

For this am very excited about the idea of working closely with local artist/s and curator/s. The starting point, for me, will be to strive towards an exhibition with a local artist/curator. An exhibition to do with the cultural material produced via the various collisions. However, this will invert slightly the “normal” process of an artist making stuff for a curator to curate.

Since the cultural material in itself will be like particles, be questions, ideas, perhaps musings, maybe some notions of space and time, or an attitude towards meanings, etc. – the curator/artist and I will be in a new kind of link that will inevitably create its own collision and material.

In this way, the idea of an exhibition, of sorts, at the end of the residency, will remain open. However, through collisions throughout the month’s residency, cultural elements will be made and shared in various ways – as may be appropriate. The stories of how these cultural elements got to Be and how they have evolved, will form the material for a talk – perhaps discussions? – at the end of the month. (..after which I hope to skateboard all the way to Brasilia, doing artistic stops along the way..)

Activities

The following collision types are to illustrate a starting point rather that an idea-fix. these will involve the following groups of people, as all of which have something to do with movement and culture in various ways and on different sets of rhythms:

Movements of cultures within cities are facilitated by people and tools that literaly move people in urban environments. Such as drivers – taxis, buses, etc., couriers of all sorts, cyclists and skateboarders that surf the urban concrete.

These are the urban cultural workers of Rio I will meet and collide with.

Another general group is that of artist and curators. To mix the groups and create new collisions potentials, I will endeavour to bring the urban cultural workers to environments such as galleries, where artists and curators occupy. And through meeting artists and curators in taxis, or while skateboarding – these meetings/collisions will collide with urban cultural workers spacetime, if not in person.

Here’s a list of the initial collision activities I have in mind:

* Linguistic collisions.

Through talking with people that might not know much english, and I do not know Portugese.. These will help form new “linguistic particles” – or lack of such particles – such as ways to imagine words, perhaps words themselves, maybe verbal codes, and other such linguistic elements.

* Cultural collisions.

Through various ways of interacting with people. For example, perhaps space between bodies, maybe ways of looking & talking e.g. time to look at a person and tonalities, etc. – will collide. A bit like the “linguistic particles” these will produce “cultural particles” – or not – and will form bases for developing the talk at the end of the residency.

* Artistic collisions.

Through interacting with people, artists, curators, drivers, etc. and challenging to imagine art in a way that might question preconceptions. eg questioning – colliding with – the traditional model of artist producing stuff for another to curate. I will try to interest a curator in the collision practices, and in the stuff that comes out of these collisions as posible inspirations for them. Perhaps to curate other object-making artist, or maybe imagine curation differently. (eg curator as an object maker..?)

* Colliding collisions themselves.

As part of attempting to immerse within Rio, it might be challenging to find out how the various groups and individuals I collide with, might interact – or not – with one another. Therefore I will bring people from each of the groups into territories of one another. Perhaps skateboarding in the gallery? Maybe taxi-talks in a gallery cafe? Maybe a bus driver attempting to imagine the road as a cyclist would through meeting on a cycle lane? Or a curator thinking like an urban courier via meeting up in a like couriers meet customers?

* Preconceptions collisions.

I want to question my own preconceptions – as they are outlined here – as a way of immersion within unfamiliar cultural rhythms, and challenge myself as to how stuff might come out through the collisions.

This will be done throughout discussions and events during the residency, in general, and through the talk at the end of it. I will want the talk to have a self reflecting, questioning element, however will actively ask people to critique the preconceptions and, in a sense, be actively seeking collisions during the talk.

distance & silence collider (Brighton instance)

#ff0000;">INITIAL IDEA
We will create a spacetime-based archive of sounds, sound related stories, memories – or just recorded stories/memories that link to a space/place and time/period. eg my experience at the level in 1973.

These recordings will be made by Brighton Communities radio and web-tv, to be made as shows in their own right using these platforms.

To archive these shows, we will use a web based tool, a distance collider. This will allow people to add stuff to the archive, it will list it in terms of period and place (eg year, and location in the city) – however, crucially, when played initially, it will begin with all the relevant recordings (eg, for the level, or the level in ’73, or ’73) playing at the same time!
This will prompt people to use a time and distance equalizer type widget. This will allow people to create with the archive using their relevant sensitivities, and creativity. Each instance will be save-able and share-able

food collider initial Vienna notion with dave of liq democracy (ld)

WIENWOCHE 2013 – Application Guidelines

1. Applicant

David & Aharon

2. Description of the applicant (max. 2000 characters)
David does stuff like mint fest.
Aharon does stuff like digihub

3. Website, Links

mint.
digihub.org

4. Contact info / Contact person

details xyz

**************************************************

1. Project title

Food Collider / BlendedBlender

Festival of Growing (FOG) is a global discussion of food cultivation and production.
Growable (vegetable/food??) Democracy Generator (GDG)

2. Project description (max. 5000 characters)
Summarized description of the applied project (e.g. the most important focal points, ideas for realization, formats, goals, …)

Soup is not enough. Ingredients are not enough. Voting is not enough. not enough is too reductionist

in which case the 1st boom could be something like:

Food Collider is an ongoing practice where people get to play with democratic processes applied for food.
To make this happen, Food Collider is made of 2 interrelated parts and during 3 distinctive periods of pre, during & post Wien.
The parts:
1. generating food ingredients via discussions.
2. elective & selective processes the aim of which is to produce food recepies. These recepies are then prepared and eaten by people involved.
The periods:
1. Pre Wien, Food Collider will organise meetups where people will talk of how to be their favourite food ingredient. This will be recorded and categorised per ingredients.
2. During Wien, the ingredients will be used, via democrstic selective and elective means, to produce recepies which then be made for people by local foodies.
3. Post Wien, Food Collider will organise a new set of meetups to produce food ontologies. These will be ready for people to take up and apply new sets of democratic means, hence allowing an ongoing process of democratic experimentations with imagination, food, and discurssivity as its core matterials.

WTF
Food Collider is a process which continually questions democratic processes in a playful and yet critical way. It relates to stuff of the guts, Food, material we all need to survive, and link it to democratic practices and questions how we can use these to thrive. Indeed, whether the very ability to question is the process of thriving.

The Food Collider is a tryptich in time, done via 3 interdependent elements. 1st, people are asked to come together and develop food-stuff material. This is where people will get to imagine What & How it might be to be an edible entity. How is it like to be a cucamber, or a cow, or a shrimp, or a soya bean? What does it feel and sense like to be an edible entity? People will be asked to talk about an edible ingerient they like most, hence have some pashion about the subject and the possibility to collide ideas and notions about food with other members of the public.
These discussions will form an audible, video and textual database which will be used for the 2nd element of the triptych.
For the 2nd element, Food collider will introduce the bunch of food stuff-idea-noise for people to discuss making a recepie from. These recepies will be discussed and decided by people based on how they sense it is best for them. In that sense, Food Collider is gnostic intentionally, we want the Collider to be used in various times and contexts. However, for Wien, we have a specific democratic proceedural suggestion to employ, that of Liquid Democracy. Therefor people will use LD as the process to get the recepe together, as well as for the 3rd element of the Collider’s tritych , the cooking & eating.
To cook & eat the recepe that was collided over at the 2nd stage, people will be asked to use other method dimed legitimate decision making by the group. They will have to descide such delicate issues as quantities, times and timing of cooking, as well as the nature of the overall dish.

(Therefore Food Collider as a whole embodies democratic processes, which then can be eaten, used, disposed of, and re-generated.)

HTF

Food Collider’s 1st element, the production, will occur prior to Wien. period. This will serve to both gather and develop material for the 2nd element, and to let people know, disseminate information about the Collider specifically and Wuien as a whole.
Through meetings organised at local venues, such as cafes and art locations, we will begin collecting the notions people come up with regarding food stuff. While using the debates as material to be archived, they will also serve to enthuse people via local radio. People will be able to hear the debates and gain ideas regarding how they imagine the life of their favourite food ingedients, and/or how they might want to use the ingredient talked about in the later elements of the Collider.

Both 2nd & 3rd elemnts of the collider will be done during Wien*. The 2nd element will be done in same venues as 1st stage. We’ll take the materials generated by the conversational collisions, and apply LD to them via xyz means.
The end of the 2nd, recepie stage, will produce the ingredients for the dish to be cooked on the 3rd part of the Food Collider triptych.

The 3rd element is where people will work out how to cook the ingredients. They’ll be able to work out the overall nature of the dish – eg salad, rice, broth, etc., and how to apply the ingredients to that process. As with the 2nd element, Food Collider is open as to How people deside these things. However, for the purposes of demonstrating how the collider operates, we’ll use LD methods to do the descision process.

To ensure & assist further Food Collider usage and development, for at least, the next 12 months, we will organise another session of the 1st FC element. This will occur during Wien and towards the end.

Goals (sustained practice/usage?)

Food Collider has a few broad elements:

1. An artistic critique.
2. A questing and questioning of democratic processes.
3. An attempt at sustainable processes.

1.
Food Collider, might seem at 1st to echo relational aesthetics projects which investigated, indeed aesthetisised, the democratic – or lack of – relationships between people the projects involved. Unlike such projects Food Collider is not interested in the relational values between people taking part, nor the possible relational values that might – or might not – emerge via the processes involved. The interest, indeed the aesthetics, in Food Collider is the practicing of collisions, a mass, a noise, an unformed messy social material that can be used by people, groups, initiatives, organisations, etc. as they might please.
The social element is also a critique of thew Beuysian notion of Social Sculpture – which arguabley, see Bishop, has informed/influanced/been-imitated-by relational projects. This critique is precisely in the way we will do a social material production, rather than be interested/focused upon the production of the social structure/sculpture.
Food Collider, in that sense, also provides a critique of the capitalistic usage of social sculpture techniques, and relational aesthetics’ related language, within the current swell of social networks on the internet in general and their capitalistic perceptions in particular.
Therefore Food Collider is neither a project, nor an object, or an effort but a potential practice. We will begin the practice with making cultural food stuff based on material generated by people discussing how is it to be a certain kind of food stuff. How is it to be Bread? Rice? An Olive? A wild boar? etc.. These collections of stuff. noises, food-based cultural material, can come via many substances, discurssive, poetic, algorithmic, musical, programmatic, situational, to name a few. Food Collider will accomodate for all forms food might be collided via people or other means.
The initial usage of Liquid Democracy of the material produced is simply to begin the practice, not an integral, immanent element of the Food Collisions it will bring in the future. That is why Food Collider will be open for other usages, other aesthetic interpertations of the noise material it will produce and keep making.
2.
Democratic processes are evolving practices which we, as a society, a political body, artistic freedom seekers, and aesthetics creators, discover & make as we go along. As a Deluzian becomming, democracy has no “it” but a process to be. It’s never “there”.

With the notions of continues discovery and of noise in mind, Food Collider is bent on creating noise and processes which question, challenge and expand the very practice of doing democracy.

to do that * we do transprency of process, so that people can see how its done + add their own processes. To top that we also question the values of voting and the focus on voting as a performance, a spectacle whi
3.
Food Collider offers, but does not impose, sustainable practice. Indeed, the idea is to give it a year for evolving within communities and individuals to allow new ways of sustaining the collider.
We think that because it is a fun practice, to imagine the Being of food and creating dishes based upon these imaginings, will make the Food Collider into a new cultural technology that, like painting, cinema, and theatre – to name a few – will sustain itself. However, since all forms to mature require a practice, we aim to give it a year of a practice-based-research in a way, which will provide Food Collider a kick to begin life, evolve and be sustained by its practicioners.

Growable Democracy Generator is a process by which people generate through discussions notions of what is it like to be stuff that grows, banana, tree, shrub, etc.
The discussions are documented and form the material for possible democratic theatrics. To begin with, we’ll use theatrics of Liquid democracy for the duration of the initial 2 weeks (dates??) However, with the assistance of a globsal network and local radio & venues, we will generate material for democratic theatrics during the following 12 months.

is a series of conversations focused on food. Participants will chat about food from the food-stuff point-of-view. and come up with recepies based on how the food will like to be. These generated ideas & recepies will form the material for democratic processes such as voting, legfitimisations, presentations, representations and implementations to be done playfully in Vienna’s communities and media outlets.

tell the story of food, it’s production and consumption from the point of view of the plant, animals, animate and inanimate processes that constitute the sytem of food production that supports us. These stories will be sourced and recorded,

Conversations

The democratic participants, that is the “audience” will be able to delegate their votes to representative that they feel are best able to speak for components of our global food production – speakers that show the best deep understanding and empathy of the science and soul of these processes will be selected to take part in the final performance.Who can speak for the soil, the earthworm, the tractor, for asparagus?

a speakers corner, a soup, a stew, a feast

What is it?

Ideas to realise
I want to make a mobile app.

Points of focus

Goals

How

3. Results (max. 3000 characters)
Short description of the expected outcome of the project (e.g. exhibition, publication, action in public space, workshop, presentation, …)
A mobile and tablet app – Soup / Blender 4D / Food Collider – which will have Liquid Democracy of Food. The app will also curate / display the noise archive + the live radio programme.

Food meets – supper clubs, events in cafés and a theatre?

What is it going to be?

4. Project goals (max. 2000 characters)
Short description of the project’s goals (what should the project achieve beyond WIENWOCHE, e.g. awareness, visibility, knowledge production, collaborations, a product, …)

Goals (sustained practice/usage?)

5. Target groups (max. 1500 characters)
Short description of the project’s target groups (who is the project directed towards, who should be addressed with it or motivated to participate, and why?)

Who?

Why them?

6. Work methods (max. 1500 characters)
Short description of the work methods of the project (how and with whom will the project be developed?)

How

7. Strategy for communication / publicity (max. 2500 characters)
Short description of the project’s strategies for reaching the public, media, individuals or groups. (How and through which channels or media should who be reached? How should the project objectives be conveyed to the target groups?)

pr

8. Time plan

Pre activity

During Activity

After

9. Cooperation partners
(In the case of any)
http://nomad-theatre.org/
https://metalab.at/
http://okto.tv/
Class War Games – Stefan Luchinger
The People Speak
SOAS – Anthroplogy of Food – http://www.soas.ac.uk/courseunits/15PANC013.html

Cafes??
Communities?
Galleries?

Also else where?

10. Budget
(See budget guidelines)

Sound Parliament

Taking conversations, distributed, layered, multifaceted, recorded through mobile powered in-situ debates, in and around Vienna, and networked to distant geographies – the Sound Parliament uses a democratic architecture to process the collected sounds in order to create a sound space composition to be performed in Wien Woche.

The recording of the conversations are fed through an democratic Pure Data (MaxMSP) architecture, in which they are layered, distorted, sampled and scratched. The stages of the processing are voted on using Liquid Democracy techniques in order to create / recreate emotions and impressions of the participants. The parliament of elected sounds are then performed in

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Authors
aharon
david